Would you repeat that, please?: Developing structure and creative repetition in the voice studio
Bibliographic record
Abstract
It is the desire of singers and their teachers that in performance, the singer will provocatively convey the song's text, musical notation, and intended spirit.In turn, the audience hopes to be gathered in to the spectacle and pathos, or to share in the universal life experiences expressed through this art and artistry.Emily Dickinson wrote, "Art is a house that tries to be haunted."(cited in Boyd, 1990, p.9) As performers seek this elusive haunting experience, they often forget that in order for a house to be haunted and haunting, it first has to be built.In On Studying Singing (Kagen, 1950, pp.49-51), Sergius Kagen outlines a step-by-step approach for learning a song with respect to pitch, rhythm, text and translation.In "Art an Intellectual Virtue," Jacques Maritain calls this acquired learning discipline "the habit of art":Operative habit resides chiefly in the mind or the will ... Habits are interior growths of spontaneous life ... and only the living (that is to say, minds which alone are perfectly alive) can acquire them, because they alone are capable of raising the level of their being by their own activity: they possess, in such an enrichment of their faculties, secondary motives to action, which they bring into play when they want...The object [the good of the work] in relation to which (the habit) perfects the subject is itself unchangeable -and it is upon this object that the quality developed in the subject catches.Such a habit is a virtue, that is to say a quality which, triumphing over the original indetermination of the intellective faculty, at once sharpening and hardening the point of its activity, raises it in respect of a definite object to a maximum of perfection, and so of operative efficiency.Art is a virtue of the practical intellect.(Maritain, 1933, pp.10-11) The cultural encouragement for instant gratification is all around us, but whether the singer aspires to perform in opera, oratorio, or recital, it is impossible for them to have the freedom of the stage without first having the discipline of the practice room.Oscar Hammerstein II indicated this discipline more simply when he wrote in The Sound of Music, "Let's start at the very beginning, a very good place to start."(Rodgers and Hammerstein, 1960, p. 39)
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".